I have been part of a musical collaboration with singer Bobbi Carrey for almost 20 years.

The song at the beginning of this blog post — “If I Loved You” — was written by Oscar Hammerstein II and Richard Rodgers for their musical Carousel.

Both Hammerstein and Rodgers had achieved tremendous success working with other collaborators before they joined forces during WWII to create the musical Oklahoma!

Following the triumph of Oklahoma! they rose to new heights, co-creating a new musical every couple of years — interspersed with producing plays and musicals (such as Annie Get Your Gun) created by others.

And as their extraordinary list of hit shows — including South Pacific, The King and I, Flower Drum Song and The Sound of Music — expanded, they also devoted a considerable amount of time to overseeing touring companies, movie adaptations, and revivals of their work.

It was an extraordinary creative and business collaboration — the fruits of which will continue to be harvested and celebrated for decades to come!

Collaboration can be a mysterious process — and theirs was not without its challenges.

But they persevered, remained respectful of each other’s gifts, and left an astounding body of work for the rest of us to savor for decades to come.

Pianist/composer/engineer/producer Doug Hammer, singer Bobbi Carrey and I recorded “If I Loved You” — one of their most beautiful ballads — for a CD we put together with exquisite arrangement input (both vocal and instrumental) from Michael Callahan.

Mike wrote the cello part on this recording of “If I Loved You,” for example.

My collaboration with Bobbi, too, has included a variety of challenges — and we have also respectfully persevered

Right now, due to a variety of factors, our collaboration is in a fallow period.

Mike is busy being a music professor at Michigan State as well as an enthusiastic husband and father.

Doug’s career as a composer, producer and touring musician — in addition to being a devoted husband and father of two terrific sons — has meant that he is less available to perform with singers (although regular readers/listeners of this blog know that he is still willing to make music together in his wonderful home studio on the north shore of Boston).

Bobbi was working for a while in various parts of Asia — with a home base in Kuala Lumpur.

And I — now that I am making a very modest living as a singer, songwriter and teacher — am (somewhat paradoxically) less available to collaborate with Bobbi than when I had a full-time, non-musical day job.

Blessedly, recording technology exists so that all of the collaboration we did together has not evaporated without a trace.

Stephen Sondheim wrote it for the musical Company, and it paints a slightly different picture of love and marriage (another type of collaboration) than one might find in a Rodgers & Hammerstein show.

I have loved this song ever since my parents bought the cast album — which I listened to again and again and again as a child.

Sondheim knew both Rodgers and Hammerstein very well, having been unofficially adopted into the Hammerstein family when he was a teenager.

Hammerstein became a role model and mentor for Sondheim as he, too, devoted himself to musical theater and songwriting.

And after Hammerstein died, Sondheim even collaborated as a lyricist with Richard Rodgers on a show called Do I Hear A Waltz? — along with one of Sondheim’s collaborators from West Side Story, librettist Arthur Laurents.

As someone who writes songs, I am always curious to learn more about the lives, practices, and habits of other songwriters.

I forget where I read it (maybe in one of Laurents’ great memoirs? or one of Sondheim’s terrific books about his own creative process?) but I was surprised to learn that Sondheim — with Laurents’ approval and support — transformed chunks of the dialogue which Laurents wrote for early drafts of the West Side Story libretto into lyrics for certain songs in West Side Story.

And Laurents did not ask for co-credit on the lyrics for these songs,

It was simply part of their generous and respectful collaborative process.

Now Sondheim continues to support, nurture, encourage and inspire new generations of musical-theater-lovers. librettists, songwriters, and performers.

Thank you to Sondheim and Laurents and Rodgers and Hammerstein — and all of their scenic, costuming, choreographic, lighting, casting, directorial, production, and performance collaborators — for leaving us an extraordinary body of songs and shows and ideas.

“I’ll Be Here With You” (on the player at the beginning of this blog post) is one of Bobbi’s and my favorite songs with which to end a performance.

And, although I do not know the details of Nancy and David’s musical partnership, I have the sense that this song may have had a strong emotional resonance for them (and might even have been inspired by their friendship…)

Perhaps people who know more about David and Nancy’s history can weigh in using the comments section at the end of this blog post.

I think of David whenever someone says something along the lines of, “They don’t write great standards like they used to…”

There are, in fact, many people who are alive and well on planet earth and who are writing beautiful, wise songs.

But the ways that those songs reach — and touch — the rest of the world have changed significantly since the days of sheet music and singing around pianos in living rooms.

No longer does a new song get recorded by many, many different performers — with different recordings of the same song vying for the top spot on a few national radio networks.

The rise of the singer-songwriter — along with self-contained bands who create their own original material — marked a significant shift in our popular musical culture.

David’s songs have been recorded by pop stars including Diana Ross, Barry Manilow, and Petula Clark — but these days Diana, Barry and Petula are not dominating the charts as they once did…

However, we now have many new ways to share music — such as YouTube, Pandora, Spotify… and even personal blogs like mine.

And there are many singers still devoted to both the Great American Songbook of standards from the 1920s-1960s AND to all of the great songs that have been written since then.

So ripples of music continue to wash around our culture and around our planet…

Thank you to David Friedman for writing songs.

Thank you to Bobbi Carrey for her singing and for her musical collaboration over the past 15 years.

Thank you to Doug Hammer for his piano playing and his engineering and his production skills and his patience and his humor.

Thank you to Mike Callahan for his vocal arrangements.

Thank you to Pixabay for most of the images in this blog post (and to the world wide web for the ones of David and of Nancy).

And thank YOU for making time so that you could read and listen to another one of my blog posts!

MMG has been happening — one weekend each spring and one weekend each fall — for 25+ years at various camps around Massachusetts.

When I first started attending it was held in Becket, MA, but now we gather in the woods near Worcester from Friday night until Sunday afternoon.

At the opening circle on Friday night, someone spoke about the recent death of a beloved canine companion.

I was reminded of a wonderful song by a writer named Babbie Green called “At The Pound” (in the player at the start of this post) which I recorded with the gifted pianist Doug Hammer for a CD I did with another singer, Bobbi Carrey, called “If I Loved You.”

Although I have not had a dog in my daily life since my teenage years — when my family had a very loving and patient Corgi named Bryn — I see how invaluable they can be in the lives of my friends and family.

I love “At The Pound” because of the details Babbie includes in the song — such as “now my car’s got a permanent blanket of dog hair.”

I also love how it ends…

“And they praise me for saving her life, saying, ‘oh what a lucky dog she…’ but when I think of all I have learned about loving, it is Molly in fact who saved me.”

Bette Midler — you with the wind beneath your wings who sometimes looks at our planet from a distance — you need to record this song!

There are more tracks from that CD in the music player on the right hand column of this blog, including “I’ll Be Here With You,” “What Is This Thing Called Love?” “Dog At The Pound,” and the title track, “If I Loved You.”

I realize — not surprisingly —that almost every song in the right hand column of this blog is about love.